
My love affair with synthesizers began in the mid 1990s. With a number of electronic musicians flooding the airwaves with incredible synthesized music, I was drawn into this world and have been obsessing over it ever since. My very first synthesizer was a vintage Roland SH-09, which I still own today. At the time, computer-based synthesizers were in their infancy, so hardware was the only real option. As the years and technology progressed, I went to a mostly software-based studio, which is incredibly powerful, fun, and affordable. However, I always missed the hands-on controls and the immediacy of working with keys, knobs, and sliders. Thankfully, hardware has been coming back in fashion and manufacturers are still developing new technologies and integrating them into physical instruments. Whether you are a seasoned professional or a complete novice looking to get in on the action, the current crop of hardware synthesizers being offered is exciting and affordable.
This buyer’s guide focuses on hardware synthesizers for less than $1000, many of which are available for less than $500. I purposefully excluded full workstations and focused on hardware synthesizers only. There are some things to keep in mind when considering a synthesizer purchase. Are you looking for an instrument that plays polyphonically or monophonically? Do you need multi-timbral performance, or single-voice operation? Some musicians would prefer a 100% analog signal path, while others are willing to consider all digital or hybrid technologies. Rest assured—with so many options, there is a synthesizer out there for you. This list isn’t the most comprehensive; covering everything available could easily fill a book. Instead, these are the synthesizers on my wish list of “Hopefully, I’ll own all of these someday!”
Moog
Robert Moog invented the modern synthesizer as we know it today. The MiniMoog was the first integrated keyboard instrument with a logically fixed signal path that was aimed at the touring musician. The Moog Sub Phatty Keyboard is a programmable monophonic analog synthesizer with 25 semi-weighted keys and dual variable wave-shape oscillators. Oscillator one also features a square wave sub oscillator to thicken up the sound, while a dedicated noise source is available for percussive sounds or sound effects. The classic Moog ladder filter further shapes the sound. Additional features include a variety of modulation sources, including two ADSR envelope generators, and an LFO, as well as an aggressive multi-drive circuit that turns the instrument into a snarling beast. If that weren’t enough, it offers both standard MIDI 5-pin DIN connectors and USB MIDI with a free stand-alone editor and plug-in for true DAW integration. The Sub Phatty excels at bass sounds, but can do so much more.
Moog Sub Phatty Monophonic Analog Synthesizer
The Mother-32 is a semi-modular analog synthesizer, and Moog’s first foray into the world of Eurorack modulars. Being semi-modular, its signal path is pre-wired and requires no patching to use the synth. However, the 32-point patch bay offers some unique functionality, such as routing the keyboard to the LFO rate, which causes the LFO’s rate to increase, the higher you play on the keys. Not only can you patch signals from the Mother-32 itself, you can also interface with other Eurorack modules, which opens the door to incredible feats of sound design. The front panel can be removed from the chassis and placed into a standard Eurorack case. The unit also features a 32-step sequencer with 64 patch memories. The onboard momentary keyboard allows you to program a sequence and transpose it while it’s playing back. Another cool feature is the MIDI input, which works as a MIDI-to-CV converter and allows you to automate parameters via the assignable parameter output. Check out the Quick Listen to see and hear the Mother-32 in action.
Moog Mother-32 Semi-Modular Analog Synthesizer
Korg
The Arp Odyssey has to be one of my favorite synths of all times. I owned an original briefly, but due to its age, I was never able to get it working properly and wound up selling it. When Korg announced that it was recreating it with the original circuitry and updated features, such as MIDI and USB, I nearly cried. The synth is 86% of the original size, but 100% of the original sound. It features a 37-note keyboard and operates in monophonic or duo-phonic modes. Two VCOs featuring saw, square, and pulse waveforms feed a voltage-controlled filter (VCF), which is switchable between rev 1, 2, or 3, and the voltage-controlled amplifier (VCA) includes overdrive. Other features include an ADSR envelope generator, an AR envelope generator, a LFO, a noise generator, a portamento (glide) circuit, a ring modulator, a sample-and-hold circuit, and an external audio input to process external sources, such as other synthesizers or drums. The ARP Odyssey is truly a classic synthesizer with an unbelievable lineage and is definitely worth consideration.
The Korg MS20 Mini is a fully functioning analog synthesizer featuring the original circuitry of the iconic, late 1970s MS-20 synthesizer, but shrunk down to 86% of the original size. It features the same architecture as the original, with dual oscillators, dual VCAs, dual VCF (high pass and low pass), dual envelope generators, and a single LFO. The synthesizer is considered semi-modular, meaning the signal routing is normalled, but with patch points, which allow for some serious creative potential. It also allows the synth to connect to other modular gear, which further pushes the envelope of sound design. The small keys are a bit tough to play, but it also includes a five-pin DIN MIDI input, so it can be played by another keyboard, as well as a USB input, which allows it to be played by a DAW. It has a truly unique sound and is considered one of the most sought-after synthesizers ever created. Definitely worth considering, if you are after an aggressive, vintage sound.
Korg MS-20 Mini Monophonic Analog Synthesizer
Roland
Roland’s R&D department has been busy developing the new Analog Circuit Behavior (ACB) technology, which is designed to analyze every aspect of the analog circuits and then faithfully recreate them, down to the finest details. From the Aria series, the System-1 Plug-Out Synthesizer is a truly innovative synthesizer. To be honest, I’m always suspicious of a manufacturer’s claim to “emulate” analog circuits. After all, virtual analog has been around since the ’90s, and it sometimes doesn’t quite live up to the manufacture’s hype. However, Roland seems to have gotten this technology right, and I was pleasantly surprised at how good this synthesizer sounds. The System-1 is capable of blending beautifully classic and utterly modern synthesizer tones. The stock System-1 isn’t designed to emulate any particular synthesizer, but has a character all its own. It features a 25-note keyboard and no less than 73 physical controls, which is an incredible amount of control on a keyboard this size. Because it’s digital, it works seamlessly with your computer via USB and there’s even a plug-in that allows you to use the synth engine directly within your DAW. The instrument offers four-note polyphony and features four oscillators with continuous waveforms that range simple to complex. There are -12 and -24 dB filter types with independent high-pass filters. Dedicated envelopes for the oscillators, filters, and amplifier sections provide tone shaping, while the LFO section offers six waveforms and can be tempo-synced to MIDI clock. And finally, the onboard effects include tone, crusher, reverb, and delay. If that wasn’t enough, the “Plug-Out” function of the System-1 allows you to purchase additional emulations of classic synthesizers, including the PROMARS, SH-2, and SH-101. Once these emulations are loaded into the System-1, they may be used as dedicated hardware without being connected to a computer. All of the controls from the original are mapped directly to the physical controls. I know what you are asking… “How does it sound?” A very good friend of mine who owns a vintage SH-2 decided to purchase the System-1 with the SH-2 Plug-Out. He, too, was skeptical, but in the end he preferred the sound of the plug-out. His opinion was that it is really close to the original, but offers a punchier attack, which inevitably caused him to part ways with the original.
Roland AIRA SYSTEM-1 - PLUG-OUT Synthesizer
Roland has also released a rackmount, semi-modular version called the System-1m. It features everything the keyboard version offers, but includes patch points for interfacing with Eurorack modules. The enclosure can be placed on a desktop, racked in a 19" rack, or integrated into a Eurorack case.
Another new synthesizer from Roland is the JDXi, the little brother to the much larger JDXA. The JDXi is a hybrid digital/analog four-part synthesizer. There is one “true” analog synth engine, two digital synth engines, and a drum engine. The keyboard features an integrated four-part sequencer and a programmable arpeggiator. The 37-note mini keys are a little difficult to play, but it’s a ton of fun to program and play. This would be an excellent choice for someone who is looking for a full-featured synthesizer for live performance. Check out the Hands-On Review for a more in-depth overview of what this synthesizer is capable of, with audio examples.
Roland JD-Xi Analog/Digital Synthesizer
Dave Smith Instruments
Dave Smith was one of the original synth pioneers and was part of the team that developed the MIDI programming language. All of the Dave Smith instruments have a heritage that hails back to the earliest keyboards, and their sounds are still very much current today. The Mopho SE is a 100% analog synthesizer equipped with a 44-key semi-weighted keyboard that responds to velocity and includes after-touch. The synth engine features two oscillators, two sub-oscillators, and a single classic Curtis low-pass filter, the same filter design found in the Prophet 5 from Sequential Circuits. Additional features include an analog VCA, three envelopes (ADSR+delay), a white-noise generator, four LFOs, an arpeggiator, a step sequencer, and a feedback loop with programmable level and gain. A unique feature of many Dave Smith instruments is the inclusion of a Poly-Chain port, which allows multiple synthesizers to be connected and function as one, but with expanded voices. If one were to add three Tetras to the Mopho SE, the instrument would become a 13-voice powerhouse!
Dave Smith Instruments Mopho SE Monophonic Analog Synthesizer
The Tetra takes the sound and features of the Mopho, multiplies them by four, and squeezes them into an enclosure about the size of a VHS cassette. The synth can be used in different modes, which makes for an incredibly flexible instrument. It can be used as a four-part multi-timbral synth, and includes four separate outputs, one for each voice. In the Combo Mode, the Tetra offers huge unison patches, stacked sequences, and modular-style poly sounds.
The Evolver is another desktop synthesizer, but with a very unique sound. The synth features two analog oscillators based on the Prophet 5 and two digital oscillators with waveforms from the Prophet VS. The signal is passed through the classic Curtis analog low-pass filter and real VCAs, which offer a tremendous amount of warmth and girth. Additional features include a high pass filter, tuned feedback, and digital distortion. What really makes the evolver stand out is the way in which the analog and digital elements merge and offer the ability to move effortlessly from thick analog smoothness to a crisp digital edge, or anywhere in between. The 16 x 4 step sequencer, LFOs and three separate delays can all be synced for complex, evolving, rhythmic, time-based effects in true stereo.
Dave Smith Instruments Evolver Desktop Monophonic Synthesizer
One thing to note about these Dave Smith Instruments is they’ve all been slated for retirement. They will all become “classics” once production has ceased, so I recommend grabbing them now before the second-hand market doubles prices!
Waldorf
Waldorf has been producing digital synthesizers for more than 20 years. The company’s instruments are not meant to sound like an analog synth, but instead have a unique character all their own. Fortunately, Waldorf utilized the familiar layout of an analog synth, so programming is a fairly simple task. The company fell on hard times a few years ago, but thankfully, it has been resurrected and is now releasing hardware instruments again. Available in black or white, the Waldorf Blofeld Keyboard features a 49-note keyboard, with 25-note polyphony, and is 16-part multi-timbral. The instrument incorporates much of the sound and technology from Waldorf’s previous synthesizers, including all of the oscillator wavetables from the “Q and Micro-Q,” as well as all of the wavetables from the original Wave, the Microwave II/XT/XTK and even the upper wavetable from the PPG Wave. Each of the 16 voices offers three oscillators, two independent multi-mode filters, two drive stages, three LFOs, four envelopes, a 16-step programmable arpeggiator, plus effects, including chorus, flanger, phaser, overdrive, MIDI-clockable delay, and reverb. Additionally, the Blofeld includes 60MB of sample flash memory for factory and user sample integration through its vast synthesis engine. Like the oscillators, the samples can be used as an FM source or destination. This is a beast of a synthesizer and high on my list of “must-have” instruments. Waldorf also offers a desktop version of the Blofeld, which is about half the cost of the keyboard version. It offers all of the same capabilities, but in a tiny package. This desktop version does come with the 60MB of sample flash memory installed, but a license is needed, at an additional cost, to unlock this feature.
Novation
Novation was one of the first manufacturers to release a virtual analog synthesizer that truly sounded like analog. The first Nova synthesizer, which I still have to this day, offers six parts and 12-note polyphony. As time passed, the company made the Super Nova and the Super Nova II, in both keyboard and rackmount versions, with the same engine, but with expanded voices and features. Today, Novation is still producing fantastic instruments, and I would be remiss if I didn’t include the UltraNova, a 37-note keyboard based on the SuperNova II. It is a single-part synthesizer with 18 dynamic voices, 14 filters, and 36 wavetables. The encoders are touch sensitive and capable of triggering envelopes, LFOs, filters, and FX. Additionally, the keyboard features a vocoder with an integrated gooseneck microphone, perfect for creating robot voices or other strange sounds. There is a free software editor and patch librarian that works in conjunction with a plug-in to control the synth within a DAW. The UltraNova also features an integrated 2-in, 4-out USB audio interface that is capable of streaming audio to and from your computer.
Novation UltraNova Analog Modelling Synthesizer
The Novation MiniNova features the same engine as the UltraNova, but in an even smaller and more affordable package. If you are on a budget and don’t need the integrated audio interface, this might be a good bet for your arsenal. It offers the same capabilities with USB MIDI and the patch editor-librarian.
In 1993, Novation released the Bass Station, a small keyboard instrument featuring digitally controlled oscillators with the rest of the signal path being analog. The sound was very reminiscent of the Roland TB-303 bass-line synth, well known for acid tones. In 2013, Novation released the Bass Station II, with an all-analog signal path. It features a 25-note synth-action keyboard with after-touch, two oscillators, a sub oscillator, a filter switchable between Acid and Classic, two envelopes, two LFOs, an arpeggiator, and a programmable step sequencer. The Bass Station II also offers USB MIDI for connecting and powering the unit via host computer.
Novation Bass Station II Monophonic Analog Synthesizer
Arturia
Arturia made its mark by creating breathtaking software emulations of classic analog hardware synthesizers. In 2012, the company surprised everyone with the release of the 100-percent analog MiniBrute, a monophonic synthesizer with tons of character and a robust design. The compact, 25-note, full-sized keyboard offers semi-weighted keys with after-touch. The synth’s architecture features a voltage-controlled oscillator wave mixer, a Steiner-Parker multi-mode filter, six waveforms, bi-polar modulation destinations, two ADSR envelope generators, two LFOs, dual ADSR envelope generators, and a full-function arpeggiator. What really makes this synth stand out, and where the “Brute” nomenclature comes from, are the unique circuits and components used in the design. The Brute Factor circuit saturates the signal with rich harmonics, while the Ultrasaw generates shimmering sawtooth waveforms. The Metalizer creates extreme triangle harmonics. The synth offers MIDI input and output via the standard five-pin DIN connectors, as well as control voltage inputs and outputs for pitch, gate, filter, and amplifier; perfect for interfacing with other analog and modular synths.
Arturia MiniBrute Full-Blast Analog Monophonic Synthesizer
Also from Arturia is the MicroBrute, which is a smaller and even more affordable instrument, offering much of the same functionality and sound as its larger brethren. In lieu of the arpeggiator, the Microbrute utilizes a programmable 64-step sequencer with eight memory positions. Additionally, the synth features a small control voltage patch bay with CV inputs for pitch, filter, sub-harmonics, pulse-width, metalizer, and saw animator, while the CV outputs include pitch, envelope, and LFO. The patchable parameters allow this tiny powerhouse to connect to other synthesizers and modular setups.
Arturia MicroBrute Analog Synthesizer
Pittsburgh Modular
Modular synthesizers came into fashion in the 1960s, but most were large and expensive systems that only universities could afford. These all-analog systems used single-purpose modules that required the use of patch cords to make a “patch” or a sound. It was definitely more of a scientific approach to sound design, which offers the ultimate in flexibility, with audio and control voltage signals being routed to any destination possible. The Pittsburgh Modular System 10.1 is a pre-configured semi-modular design, which requires no patch cables to make sounds. The system is based on the Synthesizer Box module, which includes a full-range, complex waveform oscillator, oscillator mixer, voltage-controlled multi-mode low-pass gate, a wide range LFO, glide control for portamento effects, an ADSR envelope generator, and a high-quality, linear response voltage controlled amplifier. Additional modules in the system include the Mix Mult, a three-channel mixer/attenuator with two passive mults, the MIDI 3, a full-featured two-channel MIDI-to-CV converter, and Outs, a dual independent output module featuring a stereo ¼" headphone amplifier output and dual ¼" line level outputs. The system is shipped in the Modular Cell (48) desktop case, which includes single-row wooden ends and an integrated power supply to power all of the modules. Pittsburgh also offers the System 10.1+, the same system housed in a Modular Cell (90) case, which offers additional space in the case for adding additional modules. The semi-modular design is great for anyone looking to enter the world of modular synthesizers. Its simple architecture won’t completely baffle the novice and it offers enough patch routing to create wild and unique tones and textures. Be warned, modular synthesizers can be highly addictive!
Pittsburgh SYS 10.1 SYNTHSZR PRE-PTCH SEMI-MDLR
Pocket-Sized Synthesizers
It’s the holiday season, and finding fun gifts for the musician or DJ in your life can sometimes be difficult. Great options for stocking stuffers or small thoughtful gifts are pocket-sized synthesizers, which can be had for less than $100.00 and are extremely fun and useful.
Korg makes the all-analog Monotron Duo and the Monotron Delay, which are both housed in the same style case, feature a wide-range ribbon controller for triggering sounds, and are powered by two AAA batteries. The Duo offers two VCOs with cross-modulation, an analog filter with cutoff and resonance controls, and a scale select button, which forces the ribbon controller to play chromatically or in major/minor keys.
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Korg Monotron Duo Analog Ribbon Synthesizer | Korg Monotron DELAY Analog Ribbon Synthesizer |
Additionally, an audio input is provided to route an external signal through the filter. The Delay features an oscillator with saw and square waveforms, an analog filter with cutoff and resonance controls, an LFO to modulate the filter or pitch, and a space delay with time and feedback controls. The Delay makes for a pocket-sized dub-siren and is used by a number of top touring DJs and live performers.
The Teenage Engineering Pocket Operators offer three models of pocket-calculator-sized instruments, each with multiple synth engines (FM, Sub, Wave), integrated 16-step sequencers with 16 recallable patterns, and 16 punch-in effects and parameter locks. The P0-12 Rhythm Drum Synthesizer features synthesized and sampled drums, while the PO-14 Sub Bass Synthesizer is designed to generate bass lines. The PO-16 Factory Synthesizer creates lead and melodic sounds and sequences. Each pocket operator is offered in a no-frills circuit board; however, silicone cases are available for each unit, adding protection and a polished appearance. Additionally, Teenage Engineering is offering a special Pocket Operator Bundle, which includes all three Pocket Operators, three silicone cases, and synchronization cables, allowing all three devices to play together. Don’t let the small size fool you—they sound amazing and are a blast to play!
Teenage Engineering Holiday 2015 Pocket Operator Bundle
A Ton of Sound
As you can see, there are a ton of options available for cutting-edge synthesizers for less than $1000, with many options for half that amount. Each manufacturer brings careful, well-thought designs that are not only fun to play, but offer a ton of sound design and performance capabilities. Many of these synthesizers are on display at B&H, allowing you to test-drive them before purchasing. Happy Synthesizing!
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